‘The Spectacular Now’: unmissable, unforgetable

The Spectacular Now, adapted for the silver screen by Scott Neustadter and Michael H. Weber — the duo behind (500) Days of Summer — from a young adult novel of the same name, is nothing short of its titular superlative.

It’s the story of Sutter Keely (Miles Teller), a high school senior with a drinking habit and an absentee father (the two are entwined in more ways than one), and an attitude that epitomizes the Millennial Zeitgeist: he only cares about the moment he’s in and chasing the one to follow. He makes friends like he breathes, without effort, and plays matchmaker for his buddy Ricky, but he’s not without relationship issues.

Sutter’s girlfriend Cassidy (Brie Larson, of 21 Jump Street) dumps him because she can sense he’s a dead-end, an act that hurtles Sutter into a drunken tailspin, crash landing him on a stranger’s lawn in an unfamiliar neighborhood, blocks away from his abandoned car and miles away from home.

He wakes to find Aimee Finecky (Shailene Woodley), a bookish but comely girl, standing over him. Sutter offers to help her with her morning paper route in exchange for a ride back to his car, wherever that might be. And thus their somewhat cliched, party-boy/unpopular-girl relationship begins. Except it’s not what you think. (Well, maybe a little.)

Sure, they learn from one another — for Aimee that means not letting those she loves walk all over her, Sutter included; and for Sutter that means dispensing with his bumper-sticker philosophy (“serious about not being serious”) — but Sutter only makes a pass at Aimee after Cassidy’s made it clear she’s moved on, and he only kisses Aimee after she takes a pull off his trusty flask and shouts some expletives. The rest unfolds mostly unpredictably: a jealousy-laced trip to the prom, an eye-opening encounter with Sutter’s estranged dad (Kyle Chandler), and a promise made by Sutter for all the wrong reasons then broken for all the right ones. Not to mention an open-ended conclusion that lingers in your mind long after the credits roll.

Deftly directed by James Ponsoldt (who’s apparently fascinated by alcoholism), and vibrantly photographed by Jess Hall, The Spectacular Now deserves as much praise for its craft as well its defiance of formula. Two single-shot, long takes comprise two of the most memorable scenes (the couple’s first kiss and their first — ahem – sleepover), and the performances by Teller and Woodley are magnificent, their chemistry undeniable.

Despite occasionally almost veering into douchebaggery, Teller’s Sutter is equal measures affable, charming and empathetic, like a young, booze-swigging John Cusack during his Say Anything… days. But it is Woodley who’s the more memorable star — if only slightly.

She climbs inside the skin of her character, projecting a self-effacing intelligence and beauty that’s remarkably genuine, and a naive, saucer-eyed hopefulness that everything will work out for her in the end, to poignant effect.

Jennifer Jason Leigh and Mary Elizabeth Winstead likewise excel in small but important roles as Sutter’s mother and sister, respectively.

The Spectacular Now, like the novel upon which it’s based, is a startlingly tender, wholly authentic coming-of-age story about gaining perspective, learning to take the time to truly appreciate the few watershed teen moments there are (and all who make them possible and worthwhile), and the rarity and uncertainty of second chances.

Don’t miss your first chance to see it.

Seven (Great) Films that Feel Like Summer

Miles Teller and Shailene Woodley in “The Spectacular Now”

The end of summer is nigh, and that realization is frequently accompanied by a deluge of feelings: confusion about where all the time has gone; dread for the impending (drastic) decrease in Fahrenheit; and the slightly hollow sensation that follows yet another 90 or so days without even the slightest glimmer of a romantic spark on the horizon. (Well, maybe that’s just me.) But it also means your local cineplex will begin its annual autumnal purge of all the CGI-heavy, style-don’t-bother-with-substance, dime-a-dozen (and often remarkably entertaining) action/superhero/sci-fi flicks to make way for the awards-season fodder. And, trust me, that’s something to smile about.

Don’t get me wrong: a board-shorts-and-tank-top release date doesn’t mandate a purely escapist, popcorn gorge-fest of a movie — we’ve already seen the debut of one inventively shot, emotionally compelling and incredibly socially relevant film. But that’s just the exception that proves the rule. Coincidentally, it is another one of those exceptions that inspired this list.

The Spectacular Now, which was adapted for the screen from a remarkably gripping, teen coming-of-age novel of the same name, has been quietly generating a lot of positive critical buzz. And although I haven’t yet seen the film (it’s currently making the rounds on a limited release circuit), I read — and loved — the book and I’m overwhelmingly excited to check out the movie. So that got me thinking: what other movies (of the romantic/comedic/dramatic variety) have defied formula (by either perfecting or transcending it), but done so without sacrificing an ounce of intelligence, insight or fun?

What follows is, to date, my almost-certainly incomplete list of must-see, award-winning, feel-good, intellectually provocative and affectingly evocative, perennial films (arranged in no particular order). The kind of movies that encapsulate everything good about the warmer months, or perhaps the kind of movies that might, as Hunter S. Thompson wrote, inspire feelings of a “kind of peak that never comes again.” But unequivocally the kind of movies that, like the best summer memories, you wish you could experience again and again — for the first time.

  1.  (500) Days of SummerReleased August 7, 2009
    If Brick (2005) was Joseph Gordon-Levitt’s debut, then this movie marks his mainstream breakthrough. He plays Tom, an aspiring architect who’s quintessentially underachieving, and who falls — hard — for Summer (Zooey Deschanel, typecast as everyone’s favorite, off-beat hipster), his boss’s new secretary.

The film is an indie picture through and through. Everything, from the protagonist’s occupation (Tom is a writer at a greeting card company) and the soundtrack to the day-in-the-life milieu, radiates a low-budget warmth and accessibility. And so do the acting and writing.

The characters are lovable because they’re relatable, if not familiar. Tom is genuine, perhaps a little too naive and idealistic, but he’s real and so you find yourself empathizing with him, and falling for Summer right alongside him. Not necessarily because she’s a great girl, or perfect for him, but because she’s what Tom wants, and that’s enough.

The movie begins by showing us the end of a relationship, the relationship really, and proceeds to dissect that relationship piece by piece — most poignantly when it presents the same montage in two contradictory tones and when it literally juxtaposes Tom’s expectations and his reality. So by the time you return to that opening shot of Tom and Summer, sad-eyed and off-center, holding hands on the edge of a park bench, you understand that even though it’s not where you hoped they’d be, it’s where they always were going to end up and you’re OK with it.

But it doesn’t end there, and the denouement will have you all smiles and buzzing inside. A little like that Hall and Oates song, but a little bit more like summer.

2.  Midnight in Paris — Released May 20, 2011
Roger Ebert described Woody Allen, the director of Midnight in Paris, as a “treasure of the cinema” — probably because he’s created at least two truly great films. This one could be his third.

The narrative revolves around a Hollywood screenwriter named Gil Pender (Owen WIlson) who feels artistically unfulfilled by his work, and who longs to produce something of lasting merit all while pining for a more bohemian lifestyle. Gil, along with his materialistic fiance, Inez (a startlingly abrasive Rachel McAdams) and her parents, travel to Paris on holiday where Gil’s free-spirited tendencies blossom.

One night after a wine-tasting, Gil gets lost amidst the labyrinthine streets and encounters a car full of peculiarly dressed strangers who urge him to join them. He does and he soon realizes that he’s been whisked back through time to the 1920s, an era he idolizes. He then meets and befriends a number of artistic and literary paragons (Cole Porter, Salvador Dali and Ernest Hemingway among them) as well as an enchanting and mysterious inamorata named Adriana (Marion Cotillard), all of whom force him to reexamine his relationship with Inez.

Aesthetically, Allen does for Paris what Manhattan did for NYC. Every shot, beginning with the three-minute, postcard-view montage, is washed in glowing amber, swirling blues and vibrant greens and yellows that infuse the film with a powerful impressionistic quality: you’re not always immediately certain of the beauty of what you’re seeing, but then, by simply watching, it suddenly becomes clear and you can’t tear your eyes away.

And, of course, there’s something resplendent about the magical realism in the story as well. I abhor spoilers, but in a film about being content with where you are — though not necessarily always who you’re with — and just how little agreeing on the “big things” can matter, the conclusion has to be done right, and you can rest assured that it is.

All that to say, there’s an undeniable je ne sais quoi allure to this picture. Like those sweltering nights in mid July when the thunderstorm breaks a week-long heat wave and you realize suddenly, in the pit of your soul, that there’s just something beautiful about the rain.

3.  Sideways — Released October 12, 2004
Too often movies billed as “comedic” fail to emote — even humor, on occasion. And many of them lack originality. So the pleasure they’re capable of delivering is threadbare, like a punchline worn thin from overuse. But that’s exactly what sets Sideways apart. It’s a comedy/drama film that is, at turns, uproariously funny and heartrending; a movie capable of transforming peals of laughter into tears and back again.

Of course that’s thanks, in no small part, to Paul Giamatti and a gaggle of virtual unknowns (Thomas Haden Church, Sandra Oh and Virginia Madsen) who all bring their A-game. And with a script to match, which was co-authored by Alexander Payne (The DescendantsAbout Schmidt) and Jim Taylor, who adapted the story from a novel of the same name.

Our protagonist is Miles Raymond (Giamatti), a wine-aficionado who’s been living out a lonely and unfulfilled life since his annulment. An aspiring writer, Miles tries to pour these feelings into a disparate, semi-autobiographical novel but frequently ends up drowning them in a bottle of Pinot Noir instead. His best friend, Jack (Haden Church), a serial womanizer and an aging actor, is about to tie the knot and so the two of them take a trip out to the Santa Ynez Valley for one last, fine-wine infused taste of freedom.

Along the way, they encounter Maya (Madsen), a waitress at Miles’ favorite restaurant, and Stephanie (Oh), an employee at a local winery. Mid-life crises ensue: Miles wants to reunite with his ex-wife and Jack gets cold feet. There is some drunk dialing and some licentious behavior and, of course, subterfuge. But there are also consequences — Jack takes a beating and Miles gets rebuffed by Maya and a publishing company — and all these dreary things are brilliantly dichotomized with the sun-dappled California countryside in all its warm, muted-light glory.

More importantly though, there are revelations and epiphanies. And they hit you like a sledgehammer in the stomach. Jack commits. Miles moves on — lurches out of neutral — although he’s not sure what lies ahead. And you wonder about him, too, until a phone message allays most of those doubts and a sudden road trip all but erases them.

Sideways leaves you feeling more relieved than satisfied, but also optimistic. Like that moment when you reach out and grab the hand of the girl you’ve been crushing on all summer and, against all odds, she squeezes back.

4.  Say Anything… — Released April 14, 1989
The litmus test for great children’s books and great coming-of-age movies is the same: if you can’t enjoy them as much when you’re an adult, they were never any good to begin with. That’s what makes Say Anything… so, well, great. It’s got all the teenage appeal (a kegger, a love story, smatterings of existential crises and a stellar soundtrack) but it’s presented in a very been-there-survived-that manner that exhibits almost documentarian levels of authenticity. And it doesn’t skimp on humor or heartwarming to boot.

Don’t be deceived, this isn’t an American Pie precursor (although that’s another Cameron Crowe film). It’s something refreshingly original. The adults aren’t punchlines and all the characters have flaws, and their mistakes sometimes have dire consequences. So, you know, it’s realistic. And what’s that people are always saying about the journey being more important? Yeah, that’s absolutely in play here too. Plainly, because the film’s story catalogs arguably the most transitional period of time in a young person’s life: the summer between high school and the future.

And who wouldn’t want to make that trip with someone like Lloyd Dobler? Diane, (a spirited Ione Skye) Dobler’s love interest, describes him as basic, and that’s just what he is. With his Peter Parker-esque, every-man charm (sans web slingers and a MENSA-level IQ, of course) and his blue Chevy Malibu, he’s perfectly ordinary. He’s also probably an average student — he spends his free time kickboxing, not studying or applying to colleges — but he’s an extraordinary companion. The kind of guy who knows and gets along with everybody; the guy who lights up every room he walks into. He’s three-dimensional and Cusack doesn’t make a single misstep.

Opposite him (diametrically opposed, really) is Diane Court. A valedictorian with the body of a game show hostess, as one character describes her. A prestigious international fellowship for her is just another stop on the road to success — something to tick off the to-do list. She’s best friends with her dad and she claims not to have a social life, and you believe it until Lloyd comes along. Their interactions comprise the crux of the film, which is all about their journey (told ya) from friends to lovers. The development of their relationship is miraculously simple: Lloyd calls her up to ask her out; he visits her at work; he makes her laugh. His most extravagant show of affection comes in the form of a sentence-long letter. “I’ll always be there for you,” it says. Yeah, it’s that good.

He knows exactly who he is but not exactly what he wants to do. She has always known exactly what she wants to do but she’s still trying to figure out who she is. She gives him a purpose and he fleshes out her personality; you root for them. Then, all of a sudden, they’re separated but not by contrivance. It involves an IRS investigation and selfishness on her father’s (John Mahoney) behalf, and it’s totally (mostly) plausible. But fear not, this movie’s a crowd pleaser through and through.

It seems simple, doesn’t it? To create a movie about two real people falling in love in a real way? It’s not, but that’s OK because every great success story seems to start with an unrealistic goal. And what a success it is. This film has no expiration date — that’s why they call it a classic.

5.  Silver Linings Playbook — Released November 16, 2012
There’s something rapturous about watching an actor you previously thought to be one-dimensional defy type and obliterate your expectations in a movie and with a supporting cast that does the same. It’s the kind of stuff that defines great cinema: a film that’s two parts original and unusual, and four parts accessible. That’s the potent cocktail; the precarious balance required to satisfy the desires of the movie-going masses (who generally crave escapism) and to withstand the scrutiny of film critics (who value the craft and the art of cinema). And to cram all of that into a romantic comedy? It takes a Herculean effort.

The actor to whom I am referring is Bradley Cooper. Jennifer Lawrence already had her day in the sun with a star-making turn in 2010’s harrowing, Appalachian thriller Winter’s Bone. That’s not to say she didn’t deserve the Oscar for her performance here; she did, and we’ve come to expect nothing less. But Cooper’s filmography includes titles like Wedding Crashers and Limitless and, of course, all three parts of The Hangover, so you’re allowed to balk at the thought of him in a serious role. Well, no more. His work here is nothing shy of revelatory; a performance so nuanced and natural you’d think he was a veteran of the genre.

He portrays Pat Solitano, Jr., a Philadelphia native with bipolar disorder, who returns home after an eight-month stint in a psychiatric hospital where he was remanded for a violent outburst that cost him a job, a marriage and his freedom. But all that time away seemed to do him some good. He’s got a new body, a new motto (“Excelsior!“) and a new philosophy. (Spoiler: it involves “silver linings.”) So Mama and Papa Solitano (Jacki Weaver and Robert De Niro, respectively) are hopeful but wary, because Pat Jr. also has a plan: he’s going to win his wife back.

That’s where Lawrence fits in. She’s Tiffany Maxwell, a recently widowed sex addict who’s got an in with Pat’s estranged wife. And she’s willing to exploit that relationship, but only if she gets something in return: Pat’s participation in a local, ballroom dance competition. He’s reluctant; the sum of his dancing experience is zero, and Tiffany kind of freaks him out, but he agrees. They make a handsome couple and their chemistry is electric; shocking, at times, but it gives the film its pulse. Pat can barely make it through a conversation without bringing up her dead husband and Tiffany calls him on all his bull, like thinking she’s crazier than he is.

But Pat’s reacclimation to a “normal” life with his family and friends is every bit as emotional and entertaining. His brother is a douchebag (the kind you want to be friends with), his dad is a bookie with OCD and his friends include his therapist, Tiffany’s sister’s husband and a fellow patient, Danny, who only appears in bursts — often with side-splitting results.

The nature of these characters leads to some very loud sequences (shouting matches, some commotion at a diner and more than one emotional outburst), and those things all have their place, but the most powerful moments of this film are also some of the most restrained. The sorrow in Pat Jr.’s eyes when he recounts his wife’s infidelity, the conviction in Tiffany’s body language when she reveals how her husband died and the falter in Pat Sr.’s voice when he finally confronts his shortcomings as a father — he makes up for it later, trust me — all carry a hefty sentimental punch.

So say what you will about the Academy, “They care more about the weight of subject matter than the quality of story,” or “They’re all too left-winged,” or (my personal favorite) “They’re all so pretentious,” but if you allow your reaction to the media to determine your viewing habits then you’re missing out. Because, this time, they got it right. This time, the Academy and I have something in common: we both want you to see this movie.

6.  Before Sunset — Released June 17, 2004
Jesse’s missed connection story trumps yours: being stood up by a woman he barely knew but loved on a boarding platform at the Vienna train station six months after their first chance encounter, shortchanged his ego (and his romanticism) but, naturally, gave him something to contemplate. So he returns to New York bereft and $2000 in debt. At least he got her name though: Celine.

Eight and a half years later, he’s channeled all that emotion and rumination into a book about the experience (the falling in love, not the standing up), and it’s a best-seller. That’s how Before Sunset resumes the story of Jesse and Celine. He’s in Paris on a book tour; she, having read the book and residing in Paris, tracks him down. The conversation picks up right where it left off – but there’s a caveat: Jesse has a flight to catch.

What follows is 81 minutes of real-time discursive chatting so fluid it seems almost entirely improvised. Of course it’s not, but credit Ethan Hawke and Julie Delpy for their immersion in these characters; and their mercurial chemistry. Tip your cap to director Richard Linklater (The School of Rock, Dazed and Confused) for stepping back and capturing it all in voluminous long takes and tracking shots. Finally, applaud the triumph of authenticity over the mawkishness Hollywood’s known for.

That seems to be the point Linklater’s trying to make: the fairy-tale Vienna connection was doomed from the start. Diabetically-saccharine romances are best left to Nicholas Sparks novels and Hallmark cards. Conversations constitute much more of real relationships than swoony displays of affection or impassioned osculation. Actions cannot be articulated; they merely reinforce what’s already been said. And there’s always so much to say. It’s a fiercely original dogma; a special kind of vérité a la Robert Altman.

Granted, the minimalistic plot might be off-putting to some. And Jesse’s intellectualism and Celine’s environmentalism potentially polarizing; but their humanity is universal. Gone is the optimism, the ebullience of youth that percolates Before Sunrise; the compromise and pragmatism necessary to survive adulthood now firmly in place. But the longing for a love beyond practicality, like staying together for the kid’s sake, still consumes them both.

And after a wrenching, impassioned argument during the drive back to Celine’s apartment (in the car meant to deposit Jesse at the airport), after a prolonged embrace, a “just one drink” invitation from Celine, “just one” song and then another, the consummation’s all that’s left. The choice to act on the desire a matter of another missed connection.

That cab driver didn’t stand a chance.

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